Showing posts with label Chevillard (Éric). Show all posts
Showing posts with label Chevillard (Éric). Show all posts

2 February 2021

Éric Chevillard: L'Œuvre posthume de Thomas Pilaster (1999)

L'Œuvre posthume de Thomas Pilaster is Éric Chevillard's ninth novel and was perhaps in part inspired by Vladimir Nabokov's Pale Fire (1962). Like a number of Chevillard novels, writing and the absurd hold a major place here.

The back cover contains a tongue-in-cheek illustration of what is in this book: seven previously unpublished texts by the well-loved, much lamented writer Thomas Pilaster (1934-97), whose life was brought a a brutal end. The book is edited and annotated by Pilaster's (only) friend, the poet Marc-Antoine Marson, who doesn't allow himself to lapse into hagiography. Also mentioned is that the books contains a few revelations about the role of Pilaster's wife Lise in his life and work. (Needless to say, both Thomas Pilaster and Marc-Antoine Marson are ficticious characters.)

Marson says he has known the frail Pilaster since his youth, and that the collected unpublished works here span forty-five years. Each text is prefaced by Marson's comments on them, and by the time he's more than halfway through it's obvious that he thinks they're all rubbish. In fact, Marson's friendship with Pilaster seems a very strange one because not only are his footnotes often (increasingly) critical of Pilaster, but he thinks he was a coward, heartless, greedy and possessed by an unbelievable vanity: 'Pilaster asleep, awake, he could only dream of glory'.

Marson was obviously in love with his wife Lise, who died tragically in a fall fifteen years before Pilaster died, and he was incapable of writing anything worthwhile after his wife's death. In fact, Lise (in Marson's résumé of Pilaster's life) is discovered to be rather more than Pilaster's muse at the end, and the impotent and reclusive 'writer' kills himself with his paper knife.

6 September 2020

Éric Chevillard: Sans l'orang-outan (2007)

Éric Chevillard's Sans l'orang-outan has been said to be his most political novel, and that is perfectly understandable: it depicts a world – very sadly probably not that far from us in time – when the orangutan will no longer exist, when it will be as dead as a dodo, or a glyptodon.

Sans l'orang-outan is in three parts, in the first of which the narrator Albert Moindre (a favourite character for Chevillard, and his surname – 'moindre', meaning 'slightest' or 'least', is a favourite word) – learns that the last two orangutans, Bagus and Mina, have died of a virus. Moindre works in the zoo and everyone is devastated by the news. 

The second part goes crazy, and the narrator is plunged into a barren, meaningless, hellish violent world in which almost any hope of humanity, any hope at all in fact, is virtually non-existent. All because the orangutan has gone. This part is very similar in theme and tone to Chevillard's next novel, Choir (2010), and could very easily be viewed as a precursor to it.

The third part, as well as reminding us of the disappearing forests causing the orangutans to lose their habit for the increasing use of palm oil,  plunges us into surrealism: Bagus and Mina have been stuffed, and as a reminder of what has been lost Albert Moindre has their remains displayed in a glass case for all to see. There are also very odd remarks that he makes about his sexual attraction to them, which reminds me of Joseph's behaviour in Marie Nimier's La Girafe (1987).

Sans l'orang-outan can be seen as a symbol of impending ecological catastrophe or by extension of humanity's insensitivity to anything other than profit. It is a genuine horror story.

31 August 2020

Éric Chevillard: Choir (2010)

Choir, literally meaning 'Falling' (possibly in a (mock-)religious sense), is almost undoubtedly one of Éric Chevillard's bleakest books, with suggestions of (waiting for) Godot, Endgame and a little Lautréamont.

The inhabitants of the island of the same name all want to leave the hell they're in: a place that can be freezing, where food (such as it is, and often they rely on root crops, animals they catch, or even eating themselves – at one time when people had died, or there's a suggestion of parents eating their young). The land is covered in guano or infertile sand, sometimes quicksand in which they're buried alive. Not only is the land itself hostile, but they're prey to savage animals or even themselves as there's frequent infighting.

This is not a timeless environment because planes often arrive there: forced to land for whatever reason, the planes crash, are forced by necessity to land on Choir, or are drawn to the island as if by some kind of magnetism – there's a suggestion of a kind of Bermuda triangle. Whatever the reason, any survivors are unable to make contact with any outside civilisation and must join with the others in fruitlessly wanting to leave. Inevitably, this seems (as in Beckett) to be a description of the human condition.

Contradictions abound, the hunters become the hunted, sleep is avoided for fear of dreaming of Choir only to wake up to the living nightmare, misfortunes are counted off as if prayers on a rosary, and sex is generally avoided because it can only result in producing more despairing life. And yet one game consists in causing the opponent as much harm as possible without killing him, as if misery must paradoxically be prolonged.

But there's hope of a kind. In the centre of the island is a statue to the one person who has succeeded in escaping from the island – Ilinuk, who built a machine from the wreckage of the planes: he is worshipped as a god, and the main essential thread in this story is the aged Yoakam's tales of his relationship with Ilinuk and of how he awaits his promised return, like a saviour coming back to free his people from their servitude. Or could he be rambling, is Ilinuk dead or did he in fact exist? Chevillard piles on the misery, emphasizing one of his obsessive themes: the impossibility of survival.

27 August 2020

Éric Chevillard: Monotobio (2020)

OK, Monotobio as opposed to 'Mon autobio', with four rounded sounds and no drag on the tongue. Éric Chevillard has spoken of himself before, in fact in all his books (although usually indirectly of course), particularly perhaps in Le Désordre azerty (2014). But this is the real thing, or as near as real to autobiography as probably Chevillard will get: almost everything in this book is about his life, although I'm well aware that there may be an unreliable narrator in place at times.

There's a catch of course, but then what do you expect from a Minuit writer, especially of Chevillard's nature? Chevillard hates narrative conventions, hates writing that follows on, so this is not the story of the novelist's life, or rather not a conventional story. Here we have memories, floods of them, apparently totally insignificant incidents such as (accidentally) scalding an earwig, drowning an ant, deliberately truncating a lizard's tail to watch the cut part wriggle for a few seconds but slowly grow back on the reptile again as a (surely misconceived?) lesson to his daughters; but then Chevillard, who bizarrely sees himself as a variety of vegetarian (is that a joke?), in spite of his obvious love of the animal kingdom, in spite of his sympathy for the exotic spider who briefly shares his room, loves eating animals. But I digress.

Monotobio is a book in which we learn by installments, in no obvious chronological order, of Chevillard's life as if through stream of consciousness or internal monologue, although of course there are many omissions he chooses to make, although you'll no doubt never know which. But you will learn of his marriage to Cécile, of his daughters Agathe (first) and then (around the same time of his father Bernard's death) of the birth of Suzie, his siblings and his friends. His parents have/had a holiday home on L'Île d'Yeu just off the Vendée coast, where the family go every summer, and here we learn of lot of the island.

We are told of course of many of Chevillard's books being published or in preparation, and it's in the cemetery of Port-Joinville that we learn that the imaginary character Dino Egger of the book of the same name was born from the real people Dina Egger et Nino Egger, whose names Chevillard found on a gravestone. He later received a letter from a person who had known Dina Egger, who had died tragically: from fiction, reality.

For someone who seems asocial (can't drive, doesn't have a mobile phone and turns down many invitations) Chevillard seems to get about a great deal, has visited many places and appears to be more 'normal' than one might imagine, has had couscous with Marie NDiaye and her partner Jean-Yves Cendrey in Berlin, etc. He sends his daughters up the Tour Eiffel (but backs out himself as he's scared of heights) and goes on a bateau-mouche (the horror of many French people!) with them, and even states that tourist features are comforting, like a local form of universal gravitation!

Warning: Monotobio is full of delights, far too many to mention. Enjoy this fascinating book, but don't expect anything sequential, logical or even much which on the surface makes a great deal of sense: this is a book for those already converted by Chevillard's absurdities, and for those who will recognise things already mentioned in previous books. This is Chevillard at his best (not that there's ever a worst), but if you aren't already acquainted with him there is very little for you, apart perhaps from almost total incomprehension.

12 August 2020

Boîtes à lire in Dijon, (Côte-d'Or (21))

Three Boîtes à lire (of 49!) here in Dijon (called Boîtes à livres in both French and Braille!). Disappointingly, both the first (in a way out-of-the-way spot in the Jardin de l'Arquebuse) and the second (in the bustling Place de République) had almost no books: people collecting, or lack of interest? Who can tell, but the third had a quite a number. I was devastated that neither Gibert Joseph nor Fnac in the town had a copy of the brilliant Éric Chevillard's latest Minuit novel Monotobio, I mean, the guy lives here: very quietly, almost in secret, but everyone knows! Or not. I digress.



So, Dijon encourages reading, and to prove it this Boîte à lire is just one of the 49 in the town itself and the outskirts. OK, I'd come across one weird one which was locked up (Varennes-le-Grand) due to Covid-19, but this is the first one with a warning I'd encountered. It advises taking all precautionary measures: the wearing of gloves and the washing of hands when books are either left or taken, and to put any books taken 'in quarantine' between five and eight days. No comment.

Glyptodon in Dijon, (Côte-d'Or (21))

The glyptodon (same word in French) is no longer extant, although it was a herbivorous mammal which appeared in South America about 1.8 million years ago, and became extinct about 11,500 years ago. Its carapace consisted of thousands of bony plates, obviously important to its protection. Its head and tail also consisted of bony substances. It weighed more than a tonne and its closest existing neighbour is the armadillo.

This specimen is in fact the star of Dijon's Muséum d'histoire naturelle. It was Léonard Nodot (1802-59) who founded the museum and was its first director. Vice-admiral Dupotet had brought back 2000 skeletal fragments of the animal from South America, left them to the town of Dijon, and Nodot patiently reconstructed the glyptodon from what there was. This was at a time when very little was known of the glyptodon by naturalists and Nodot's work was to be of great help to researchers.

Éric Chevillard is much concerned with self-protection, particularly in the non-human animal kingdom (analogies, of course), and his novel Démolir Nisard | Demolishing Nisard (2006) is where I first learned of the (former) existence of the glyptodon. In this novel the narrator's hatred for Désiré Nisard slightly gives way to his appreciation of Nodot. As I say in that post:

'There is a positive to the negative, and as Nisard is 'demolished', then the narrator suggests that Léonard Nodot, the founder of the Muséum d'histoire naturelle in Dijon (where Chevillard lives) should be 'resurrected'. The narrator particularly enjoys visiting the museum to see the 'resurrection' of the prehistoric gigantic armadillo there, the glyptodon.'



29 June 2020

Éric Chevillard: Juste Ciel (2015)

The fictional Albert Moindre has received a number of brief mentions in Éric Chevillard's other novels, and moindre is one of Chevillard's favourite words, but this is the first time he's had the role of protagonist. Here too we learn – in an obscure paragraph which doesn't spell things out but relies on the reader's attention and knowledge of his previous novel L'Auteur et moi – that the 'author' didn't in fact kill him. Although Albert is in fact dead.

Yes, Moindre has been killed in a road accident in which he collided with an olive and dates delivery vehicle, and now speaks as a disembodied voice or ghost, someone waiting to discover his fate as he adapts to no longer having a body, although he still feels the contours of the human he was, and of course he's now a citizen of no country and his 'language' is international.

Generally speaking, as with Chevillard's later books –  I think – there's more of a narrative, and this novel is even divided into five different sections, the final four (following the 'introductory' section) actually being named:

The first is 'Bureau des Élucidations', in which Albert talks to a female – he thinks  voice with a sense of humour: the sign on the door says 'Come in without knocking', and of course Moindre can't knock anyway as he has no body – just a little friendly joke. Albert soon learns that these 'people' know absolutely everything about all the dead, even tiny, apparently insignificant details, all the thoughts the dead have had in life, all the people they've known or unknowingly crossed paths with, even the dreams they've had. He learns that his estranged wife Palmyre once tried to move back in with him with their daughter Sidonie, but as he was in a drunken stupor he didn't answer the door so missed his chance. Back in the sky, he has already met Clarisse, an American who died at one hundred years of age, and who discovers to her horror that the title of Miss Colorado 1931 was rigged for another girl to win.

Together, Clarisse and Albert move to the next section – 'Observatoire' – where they can see anyone they choose to see down on Earth. This is the perfect opportunity for Chevillard to indulge in his love of lists, as Albert zaps through all his former school pals to find out what they're doing. He also sees that Sidonie has his ashes in her room, and can predict that her latest boyfriend will soon die of a heart attack, and although he can tell that Sidonie isn't really serious about him, the young guy is serious about her.

'Service des Réclamations' is where the recently dead go to complain about all the injustices they have received on Earth, and is another chance for Chevillard to let loose about another of his favourite things: saying how completely screwed up the whole world is. Albert rants and rants about the world being run by idiots who make everything hopeless for everyone else, how life is out of joint, there are so many things that need changing. The voice will see what she can do.

The final section is 'Service des Rétributions', where we discover what has been decided. One of Albert's complaints was that he was born several decades too late: when visiting a cemetery one day when he was alive, he notices the grave of an Adèle Mage (1881-1900) and becomes fully convinced that she was the person who should have been his ideal partner. He even writes a book of poems about her, although the injustice that it was never published angers and deeply hurts him. But the voice tells him that the book has been examined and discovered to be rubbish and for this, er, 'crime' he will be punished by being returned to the body he was obviously so unhappy living in.

Those who control the dead can also control time and 'when?' is a question totally alien to them: they can send people back to earth before a disaster happens, and so can prevent it from happening;  in fact they've been emotionally moved by Clarisse's story and sent her back to the States to become Miss Colorado 1931.

Albert learns that he can in fact be sent back to France and his fatal accident avoided. But that isn't quite going to happen. Albert was an expert on transporter bridges and there is due to be serious trouble at Biscaye. Albert asks why they don't send Ferdinand Arnodin (1845-1924), the man who invented transporter bridges. No, these people also have the power to give a person another life as a completely different person: so Albert re-joins the world as Ferdinand Arnodin!

27 June 2020

Éric Chevillard: L'Auteur et moi | The Author and Me (2012)

Éric Chevillard's L'Auteur et moi is his eighteenth novel for Minuit, although it's more like two novels. The narrator is Blaise, who incessantly and maniacally tells (maybe harangues is more the word) a female stranger at a terrasse de café about having ordered trout with almonds (his favourite) but received cauliflower gratin (which he detests with a vengeance) instead: this is the subject of the book, and Blaise shows himself as more than a little insane by the way he obsesses about the mistake. His female victim is not known to say a single word throughout the verbal delivery.

But this is only half the story, if we can call it that: there are forty footnotes in the 299-page book written by the 'author', the person who has created the narrator, and the purpose of these are often to point out the differences between the author and his creation: for instance, the author finds him right-wing, probably homophobic and pro-death sentence, boorish, bombastic, etc. But then, the 'author' hates cauliflower gratin and trout with almonds too: there are some definite similarities between the two, er, characters.

The book within the book begins at footnote 26 (page 115) and ends on page 221: yes, one footnote lasts a whole 106 pages, more than a third of a book already containing long footnotes. Some of the footnotes apart from number 26 appear to be autobiographical, mentioning the death of Chevillard's father, the fact that he doesn't have a driving licence or a mobile phone, is essentially asocial, etc. But footnote 26 is a story in itself.

The author of the huge footnote 26 is escaping from the police, apparently, because of the absence of one Albert Moindre, who is dead, and maybe the writer of this footnote killed him: he certainly pushed a guy to his death in a canal, and then visited the Moindre parents, is welcomed by them, and starts living in the Moindre parents' house and is treated as a son until the cauliflower gratin intervenes and he's thought to be the murderer of their real son. (Albert Moindre appears several times in Chevillard's books, and the word moindre itself frequently recurs throughout his novels, as do various versions of cheville, but that's another story.)

So what can the author do for survival (a strong theme in Chevillard's work)? Obviously, go chasing after an ant (which one critic believes is Chevillard himself), and he's soon joined by a girl called Pimoe, an anteater escaped from a circus, and a young boy escaping from his mother. Does all this make sense? Well, this is all very Chevillard: humorous, puzzling, fascinating and well worth another read (or two, or three, or...).

24 June 2020

Éric Chevillard: Mourir m'enrhume (1987)

Mourir m'enrhume is Éric Chevillard's first novel, published when he was twenty-three, and is in some ways his least accessible. Chevillard first sent Minuit's editor of the time Jérôme Lindon a copy of a poem, although Lindon told Chevillard (who doesn't like novels) that the novel is the only option to take. Chevillard learned his lesson and has now produced twenty-three novels with Minuit (as well as many books by other publishers), although he's never actually produced a conventional novel, and in effect that would be a slightly odd description of his Minuit productions, although the same could of course be said for a number of other Minuit writers.

Mourir m'enrhume is a humorous book, although it concerns the dying eighty-year-old Monsieur Théo, who has moved home to be cared by Suzie Plock, the widow of his friend Martial.  He is regularly visited by the young Lise, who reads to him and confuses céleri with salsifis, 'as everyone does', writes Chevillard, who is obviously interested in paronamasia.

Some have called this novel a prose poem. Others are nonplussed by the almost surreal nature of the work, such as the fact that swans are called camels with water at their balls, or turtles called soup in reverse. Lise reads that the inhabitants of Lumajang solve their rat problem in the rice fields by stitching up some of the rats' anuses, so sending them crazy and taking their dying frustrations out on the unstitched rats: problem over. Monsieur Théo and Lise are inspired: this is an easy murder weapon to hide, not like a revolver: you can hide a needle in any wooden groove.

Chevillard takes some getting used to, many give up on him, but I find this writer one of the most fascinating I've ever come across.

23 June 2020

Éric Chevillard: Préhistoire | Prehistoric Times (1994)

Éric Chevillard's Préhistoire, set in the fictional La Grotte de Pales, is obviously based on a tourist site such as La Grotte de Lascaux, Montignac-Lascaux, in Dordogne, where there are caves with, er, prehistoric paintings: a definition of 'pre-historic' is given by the unnamed narrator of this novel as being before the written word.

In Brian Evenson's review of the book in World Literature Today, Vol. 69, No. 4 (1995) he calls this sixth novel 'difficult yet satisfying', with a 'semblance of a plot, but a plot reduced to its bare bones'. The narrator is a guide and guard to this per-historic site, being an archaeologist who has had his kneecap shattered in a fall. Professor Glatt (an expert on Pales along with his learned opponent Opole, an equally fictional expert Chevillard mentions in passing in several books) is expecting the narrator to re-open the site after the death of the previous guide Boborikine, whose ill-fitting uniform he has inherited, and which Boborikine in turn inherited from Crescenzo, who only had one leg.

There are a number of absurd pages about the uniform, which includes a hat and pair of shoes too, one of which Crescenzo had no need of, so the pair consists of one badly used shoe and one in good condition, and, oh it's too long to explain.

Chevillard is of course noted for his digressions, and several pages here are devoted to the biography of Nicolas Appert (1749-1841), born in Châlons-en-Champagne (then called Châlons-sur-Marne) and the inventor of food preservation, sterilising by heating in hermetic containers; he established a factory in Massy using this process, which was the first of its kind in the world. Chevillard doesn't mention that the town now celebrates his existence by the huge Statue-colonne Nicolas Appert, and a room in the Musee des Beaux-Arts et d'Archéologie.

19 June 2020

Éric Chevillard: Ronce-Rose (2017)

Ronce-Rose is a surprisingly relatively conventional narrative novel, although not without some oddities and many digressions, often in the form of the narrator's thoughts. Ronce-Rose is a young girl, perhaps about ten or eleven years old, who lives with her father (or perhaps uncle) Mâchefer, whose best friend is Bruce, and they are a couple of robbers specialising in banks, jewellers and service stations. And the novel is told by her and entirely from her point of view, although the language (if not the perception) comes from a more mature person's viewpoint.

The description of the story by Ronce-Rose, or Ronce, or Rose, is told in a childlike way but paradoxically also in another very adult-like fashion, frequently including words that Mâchefer has taught her: she hasn't received a state education, only learning from what Mâchefer has taught her, and she treasures the words she has learned. But she doesn't seem to be aware of the nature of  Mâchefer and Bruce's jobs, and is more interested in the tit bird family in the tree near her room. Her neighbours, the witch Scorbella and the one-legged man, also interest her.

And then Mâchefer and Bruce disappear for longer than they have been gone for before and she decides she must look for them, popping into the café, visiting the fountain in town, all the time writing (as her private diary is almost a character here), all the time searching for Mâchefer and his frequent disguises, all the time leaving chalk marks revealing where she's been so she can be traced by him.

In a shop window she sees a television clip of the police killing Mâchefer and Bruce but believes it's a completely different fictional film played by lookalikes, so continues her search, which leads to her eventually being taken back home, back to where she started, and where she must wait for Mâchefer.

The 'publisher' states that her notebook ends there, and that the mummified body of Rose as an old woman was discovered by chance, with chalked arrows all around her house.

My Éric Chevillard posts:
––––––––––––––––––––––––––––––––––––
Éric Chevillard: Oreille rouge | Red Ear (2005)
Éric Chevillard: L'Explosion de la tortue (2019)
Éric Chevillard: La Nébuleuse du crabe | The Crab Nebula (1993)
Éric Chevillard – Au plafond | On the Ceiling
Éric Chevillard: Le Désordre azerty
Éric Chevillard: Dino Egger
Éric Chevillard: Le Vaillant Petit Tailleur
Éric Chevillard: Le Caoutchouc décidément
Éric Chevillard: Palafox
Éric Chevillard: Un fantôme
Éric Chevillard: Du hérisson | Of the Hedgehog
Éric Chevillard: Démolir Nisard | Demolishing Nisard

18 June 2020

Éric Chevillard: Un fantôme (1995)

Two years after La Nébuleuse du Crabe (1993), 'starring' the polymorphous Crab, came Un fantôme, which also 'stars' the character Crab. A character like Crab of course can be expected in a novel by Chevillard – which isn't in any way a conventional novel (again, as is expected), being a collection of often contradictory observations about Crab. In his article 'Crab ou la pêche au gros' in the multi-authored Poétiques de l'indéterminé : le caméléon au propre et au figuré (1999) edited by Valérie-Angélique Deshoulières, Pierre Jourde suggests Palafox (of the eponymous novel of 1990) and Furne (of Le Caoutchouc décidement (1992)) are avatars of Crab.

Un fantôme is full of paradoxes, of absurdities. Crab takes out a plaster in a paper wrapper, can't open it, tries to bite into it without success, sets scissors to it, cuts his finger, then manages to open it and applies the plaster to his cut finger. Crab seems to have always existed and to have invented everything, be everyman, or rather everyone who has ever existed, is so fertile that he can make women pregnant just by brushing past them, make animals pregnant, even the sea, etc. Un fantôme abounds in surrealism and Crab can sculpt fire, joins queues not to buy anything but just to give himself a sense of being alive, and so on. Normality is seen almost as a disease, and there's a huge amount wrong with the world as it's been given to us.

Un fantôme is also about writing and survival, two major themes of Chevillard's work, which often has endless sentences. For instance there's a story within a story within a story within a story: Crab is accosted at a dinner party by a big guy who insults him for no reason, so Crab calmly mentions that the day before when he was walking along the street a car pulled up and a medium-sized guy got out and started insulting him, appearing to want a fight, and Crab calmly told the guy that the day before he was sitting at a café terrasse when a dwarf knocked his chair over and start hitting him for no reason, but Crab calmly told him that the previous day he was peacefully smoking his pipe when a mosquito began to buzz around with the intention of biting him but he just put his hands around it and splat! The guy at the dinner function made his apologies.

Crab is famous, well known by everyone and constantly receives unsolicited mail, but then he's the fall guy, or is anonymous, shunned by all around him. Crab is everyone and everything, and when he dies he'll come back and haunt you. Forever.

My Éric Chevillard posts:
––––––––––––––––––––––––––––––––––––
Éric Chevillard: Oreille rouge | Red Ear (2005)
Éric Chevillard: L'Explosion de la tortue (2019)
Éric Chevillard: La Nébuleuse du crabe | The Crab Nebula (1993)
Éric Chevillard – Au plafond | On the Ceiling
Éric Chevillard: Le Désordre azerty
Éric Chevillard: Dino Egger
Éric Chevillard: Le Vaillant Petit Tailleur
Éric Chevillard: Le Caoutchouc décidément
Éric Chevillard: Palafox
Éric Chevillard: Un fantôme
Éric Chevillard: Du hérisson | Of the Hedgehog
Éric Chevillard: Démolir Nisard | Demolishing Nisard

Éric Chevillard: Le Désordre azerty (2014)

Le Désordre azerty obviously refers to the French keyboard (in the English model: 'qwerty'), and in fact the sections in the novel are written in that order – the way the keyboard goes from left to right, left to right, left to right. The structure of the book – and it certainly has a rudimentary structure – takes a word beginning with a letter from the azerty keyboard: so obviously the novel has twenty-six sections. And although the content in these sections doesn't have a particular order, several of Chevillard's obsessions or preoccupations (animals, the state of the world, paradox, writing, etc) are quite clear from the words illustrated. This is almost certainly the most autobiographical of Chevillard's novels so far.

We begin with 'Aspe', which the narrator says he is annoyed to find he doesn't know the meaning of: although he doesn't mention it, 'aspe' is in fact a word for reel, as in cotton reel, film reel, etc. 'Aspe' comes slightly after 'asocial', which of course refers to a lack of adaptation to social life, as might perhaps to some extent be a reference to Chevillard himself.

I think ten pages here is the maximum for each section, and even the second one – 'Zoo' (Chevillard of course being highly interested in animals of all kinds, including insects) – only has seven pages, although it's a great opportunity for Chevillard to make one of his beloved lists. 'Ennemi' (nine pages) has a typical paradoxical statement of an enemy, which reminded me of Sartre saying in Reflexions sur la question juive that anti-Semites love to have a Jewish friend: 'il aime paradoxalement mais avidement ce qu'il n'aime pas': 'Paradoxically he loves what he doesn't love'.

'L'Origine' (eight pages) is a chance for  Chevillard to launch into a criticism of modern life, of humanity heading towards the void: our technological progress is in fact leading to our suicide. No names, though: Chevillard remains apolitical as usual. He prefers to look towards the past, to prehistory, for solace.

This novel is full of Chevillard's usual wonders, but perhaps 'Quinquagéniare' (ten pages) is the most interesting as he talks about himself, giving a list of things he's done in the fifty years of his life so far, and it has a definite smack of Georges Perec's Je me souviens.

My Éric Chevillard posts:
––––––––––––––––––––––––––––––––––––
Éric Chevillard: Oreille rouge | Red Ear (2005)
Éric Chevillard: L'Explosion de la tortue (2019)
Éric Chevillard: La Nébuleuse du crabe | The Crab Nebula (1993)
Éric Chevillard – Au plafond | On the Ceiling
Éric Chevillard: Le Désordre azerty
Éric Chevillard: Dino Egger
Éric Chevillard: Le Vaillant Petit Tailleur
Éric Chevillard: Le Caoutchouc décidément
Éric Chevillard: Palafox
Éric Chevillard: Un fantôme
Éric Chevillard: Du hérisson | Of the Hedgehog
Éric Chevillard: Démolir Nisard | Demolishing Nisard

14 June 2020

Éric Chevillard: Palafox (1990)

This is Éric Chevillard's third novel, the earliest of his I've read, and is just as weird and delightful as any of his others. Animals are once more not only present but to the fore, particularly one of them, as are learned animal experts, all four of them fictitious this time.

At Algernon's table, where he sits with his daughter Maureen and his future son-in-law Chancelade there's an egg which suddenly hatches and a creature which will undergo many metamorphoses and different sizes is born. After some deliberation they call it Palafox after the (real) Duke of Saragossa, who bravely defended Saragossa in 1806. Why? Well, why not, but it was decided on the toss of a coin.

The animal specialists are the entomologist Pierpont, the herpetologist Baruglio, the zoologist Zeigler (who makes several later appearances in Chevillard's novels) and the ichthyologist Cambrelin, all of whom know each other well but don't always get on with one another. Needless to say, Palafox is a mystery to them.

He's a mystery to everyone, although Olympie, who's looking after him and tending to his Gargantuan appetite, gets on well enough with him, and Palafox tolerates her. Until, that is, he escapes and wreaks havoc with the neighbouring world, a festival of mass killing. After he's caught the family watch his brutal fight with a kingfisher (Merlin), his wooing of his former potential mate Merline, and his hour-long copulation with her. Then Palafox wounds Chancelade and something must be done with him.

So Algernon castrates him, hoping to calm his anger, but this doesn't work. After much deliberation, the now prize-winning, leonine Palafox bites a distinguished guest's pet dog's head off and destroys all of china expert Algernon's precious collection. One step too far. Reading Chevillard is like visiting another world, one far removed from, say, Balzac.

My Éric Chevillard posts:
––––––––––––––––––––––––––––––––––––
Éric Chevillard: Oreille rouge | Red Ear (2005)
Éric Chevillard: L'Explosion de la tortue (2019)
Éric Chevillard: La Nébuleuse du crabe | The Crab Nebula (1993)
Éric Chevillard – Au plafond | On the Ceiling
Éric Chevillard: Le Désordre azerty
Éric Chevillard: Dino Egger
Éric Chevillard: Le Vaillant Petit Tailleur
Éric Chevillard: Le Caoutchouc décidément
Éric Chevillard: Palafox
Éric Chevillard: Un fantôme
Éric Chevillard: Du hérisson | Of the Hedgehog
Éric Chevillard: Démolir Nisard | Demolishing Nisard

6 June 2020

Éric Chevillard: Dino Egger (2011)

Éric Chevillard specialises in nothingness, or rather in absence, and in a sense the novel Dino Egger is a hymn, or elegy, to absence. What would the world be without Plato, Pythagoras, Shakespeare, Newton, Marx, Einstein, Cervantes, Rembrandt, Archimedes, Columbus, and so on? We don't know, we have no idea. But then, what if Dino Egger had existed? What would the world have looked like then? He could have changed the world! But again, he didn't exist, so he didn't change the world.

Nevertheless this novel hinges on hypothesis, and charnière (the French for hinge) is one of Chevillard's favourite words. We move into Perec territory, as in Les Choses, into the past conditional tense, of what would have or could have been. And the narrator Albert Moindre – who has played a bit part or a walk-on part in some of Chevillard's previous novels – plays on the possibilities to the full: Dino Egger could have lived anywhere in the world at any time, could have been repsonsible for for n number of inventions, could have changed the world in so many ways. So Moindre goes in search of him, goes all over the world researching, digging deep into archives without enjoying the places he's visiting.

About halfway through the book there's a twenty-two page section from a kind of diary, a record that could have been written by Dino Egger. It seems to be about a secret plot to change the world in some (unspecified) way, and people belonging to this society have died in the process. But the only things that are mentioned are everyday activities that anyone else might do, and people (such as someone riding a bike and carrying a fishing rod, or a woman carrying a bag from the chemist's) are seen as threatening.

Dino Egger is of course another of Éric Chevillard's exercises in the absurd, a paradoxical world in which commonsense is nonsense, and vice versa, ending in the narrator becoming the man who doesn't exist: as ever, pure unadulterated pleasure from Chevillard.

My Éric Chevillard posts:
––––––––––––––––––––––––––––––––––––
Éric Chevillard: Oreille rouge | Red Ear (2005)
Éric Chevillard: L'Explosion de la tortue (2019)
Éric Chevillard: La Nébuleuse du crabe | The Crab Nebula (1993)
Éric Chevillard – Au plafond | On the Ceiling
Éric Chevillard: Le Désordre azerty
Éric Chevillard: Dino Egger
Éric Chevillard: Le Vaillant Petit Tailleur
Éric Chevillard: Le Caoutchouc décidément
Éric Chevillard: Palafox
Éric Chevillard: Un fantôme
Éric Chevillard: Du hérisson | Of the Hedgehog
Éric Chevillard: Démolir Nisard | Demolishing Nisard

31 May 2020

Éric Chevillard: Le Caoutchouc décidément (1992)

Éric Chevillard's Le Caoutchouc décidément doesn't appear to have been translated into English, although if it is I think it would probably not be called 'Decidedly Rubber' or 'Rubber, Decidedly', but 'Definitely Rubber' or 'Rubber, Definitely'. In a way it's of course of no importance as the title tells you nothing of what the book is about, although as I've suggested before, some readers would say that Chevillard's books are about nothing anyway. And although I can understand that reaction and even to a certain extent agree with it, how do I justify such an outrageous statement as to suggest that Chevillard is one of the most important – if not the most important – of contemporary writers? Not an easy question to answer, although I'm certain that he's one of those authors you have to read several works of in order to have a clue about what he's doing. And that's probably why it's taken many people quite a time to begin to appreciate his work.

Le Caoutchouc décidément is Chevillard's fourth novel, and the earliest of his yet that I've read. Like his later books, there's no plot as such, no development, there are characters this time, although they are as thinly drawn as to be caricatures, and of course there are digressions. Interestingly, the first word of the novel (almost) ends with the same word, although it's Furne (the protagonist) instead of the one-word sentence 'Fume.' (meaning 'smoke') at the end.

Furne grew up with a girl neighbour just five days younger than him and they got on really well and lived many happy years together, but she felt so lonely when he died that she brought up a puppy (or was it a cat?) and in turn buried that when it was old... No, that won't do, too much narrative: she (incidentally unnamed) in fact drowned when she was twelve.

At thirty Furne has no experience of women, but he's a revolutionary, he wants to change things: not just have his name mentioned as a disease he's discovered or anything so simplistic as that, no, he wants to change everything he doesn't like, everything that doesn't gel in the world. The first sentence is (I translate) 'Furne is for example hostile to the principle of April showers' (although it actually says 'March showers' but things come earlier in France). If that weren't enough, fish don't talk, the brain is too small, stars are too far from one another, how can things be corrected?

Furne manages to attract Professor Zeller's interest in his proposed publication 'Manifeste pour une réforme radicale du système en vigueur', which is no more than an attempt to rid the world (solar system?) of its faults. Zeller equips Furne with a studio and a research team, and things are set to go. Why, though, does the building Furne and crew are working in resemble a clinic, why does Céleste – who initially scrubs Furne from top to bottom as he's filthy and scrawny because he has been unable to buy any cat food as he's eaten all the cats – seem so nurse-like, and why do the members of Furne's team behave as if they belong in a psychiatric hospital?My Éric Chevillard posts:
––––––––––––––––––––––––––––––––––––
Éric Chevillard: Oreille rouge | Red Ear (2005)
Éric Chevillard: L'Explosion de la tortue (2019)
Éric Chevillard: La Nébuleuse du crabe | The Crab Nebula (1993)
Éric Chevillard – Au plafond | On the Ceiling
Éric Chevillard: Le Désordre azerty
Éric Chevillard: Dino Egger
Éric Chevillard: Le Vaillant Petit Tailleur
Éric Chevillard: Le Caoutchouc décidément
Éric Chevillard: Palafox
Éric Chevillard: Un fantôme
Éric Chevillard: Du hérisson | Of the Hedgehog
Éric Chevillard: Démolir Nisard | Demolishing Nisard

25 May 2020

Éric Chevillard: Démolir Nisard | Demolishing Nisard (2006)

Marie-Napoléon-Désiré Nisard (1806-88) was born in Châtillon-sur-Seine, Côte-d'or, and was a writer, academic and politician most noted for his four-volume Histoire de la littérature française (1844-1861). And although he is almost forgotten today the narrator in Éric Chevillard's novel wants to 'demolish' him, meaning remove every trace of his ideas. In advertising the fact, of course, interest in  this virtually unknown figure paradoxically increases.

Nisard's main (and of course ludicrous) affirmation is that French literature ended at the end of the seventeenth century.

One of the main strands in the book is the (non-)existence of Nisard's early short story Le convoi de la laitière, which the narrator has discovered that Pierre Larousse, in one of his fifteen volumes of Grand Dictionnaire universel du xixe siècle (1863-1890), describes as 'grivois' (or dirty, salacious), and claims that the older Nisard spent part of his life trying to destroy all copies of the publication. Larousse further claims that this was published (as a separate pamphlet) in octavo in 1931, but that it is now unobtainable. (Later events prove a slightly different story.)

The bulk of the novel is taken up by the narrator's ideas of ways to demolish Nisard, a man who turned milk to butter for his bread by blowing on it, turned wine to vinegar for his leek vinaigrette by dipping his finger in it, and so on. Nisard is even mentioned in a number of contemporary news articles, stabbing someone, crashing his car while drunk and having smoked cannabis, being responsible for a plot in South Carolina to cause a civil war 'using' (but probably not actually having, the narrator adds with a clear contemporary wink) weapons of mass destruction. In fact Nisard is everywhere, and responsible for all that is negative in the world.

It is in fact clear from near the beginning of the novel that the narrator is howling mad, obsessed with a man he has found out as much as possible about, and for instance has even been forced to dislike squirrels because they eat hazel nuts, and Nisard must have eaten hazel nuts too. The narrator's wife Métilde, unsurprisingly, is worried for his mental health.

There is a positive to the negative, and as Nisard is 'demolished', then Léonard Nodot, the founder of the Muséum d'histoire naturelle in Dijon (where Chevillard lives) should be 'resurrected'. The narrator particularly enjoys visiting the museum to see the 'resurrection' of the prehistoric gigantic armadillo there, the glyptodon.

The narrator also likes visiting other places in search of the elusive Le convoi de la laitière. And eventually he discovers the truth. Contrary to what he imagines, that the book contains (then 'obscene') schoolboy reworkings of the language – the title really meaning 'Vois le con de la laitière' ('Look at the Milkmaid's Cunt') – he finds that the 'book' wasn't published at all, but that the harmless, sentimental story was in fact published in an 1834 edition of the Revue de Paris. And the full fifteen-page tale of love and greed, of a tragic perceived mésalliance can be read be anyone looking online.

The finale is when the narrator 'becomes' Nisard, in a few manners of speaking. A hugely enjoyable, really amusing treat of a book.

My Éric Chevillard posts:
––––––––––––––––––––––––––––––––––––
Éric Chevillard: Oreille rouge | Red Ear (2005)
Éric Chevillard: L'Explosion de la tortue (2019)
Éric Chevillard: La Nébuleuse du crabe | The Crab Nebula (1993)
Éric Chevillard – Au plafond | On the Ceiling
Éric Chevillard: Le Désordre azerty
Éric Chevillard: Dino Egger
Éric Chevillard: Le Vaillant Petit Tailleur
Éric Chevillard: Le Caoutchouc décidément
Éric Chevillard: Palafox
Éric Chevillard: Un fantôme
Éric Chevillard: Du hérisson | Of the Hedgehog
Éric Chevillard: Démolir Nisard | Demolishing Nisard

22 May 2020

Éric Chevillard: Du hérisson | Of the Hedgehog (2002)

 
Some people have said that Éric Chevillard's book is about nothing, that it's not a novel, has no plot, no characters, no development, etc. I'd say that's a reasonable summation in a sense, although that obviously sounds negative, and this hugely enjoyable book is anything but negative.

The actual way the format appears is probably unique: 534 paragraphs of more or less the same length, although only one full stop at the end of any of them – the final paragraph – because every paragraph ends in mid-sentence and the rest of the sentences are carried over to the next paragraph. Also, almost every paragraph contains the phrase 'naïf et globuleux'*

The story, such as it is, concerns a writer sitting at his desk to write his autobiography (with old-fashioned pencil and paper it seems, as he has a rubber). Trouble is, a hedgehog has appeared as if from nowhere on his desk and starts to eat the rubber, which causes some consternation in the author. And then the hedgehog starts to eat his writing paper.

In fact the hedgehog hijacks the author's book, takes up his thoughts, quotations on hedgehogs from naturalists Buffon and Daubenton are made, imaginary naturalists Zeiger and Opole are mentioned (usually together, although they have conflicting ideas), and so on.

 Whereas the author initially felt animosity towards this gatecrasher, a genuine affinity between the author and the hedgehog develops: like the non-human mammal, the author is solitary, he even envies the hedgehog its protective muscle which means he can just retreat into a spiny ball.

And the reader is treated to a huge number of details about the hedgehog and his defense mechanisms, his sex life, his life span, his daily routines, etc. This must surely be one of Chevillard's best?

*The only exception I noted was a paragraph spanning from pages 85 to 86: a mistake, or one of Chevillard's test tricks to see who is or isn't paying attention?

My Éric Chevillard posts:
––––––––––––––––––––––––––––––––––––
Éric Chevillard: Oreille rouge | Red Ear (2005)
Éric Chevillard: L'Explosion de la tortue (2019)
Éric Chevillard: La Nébuleuse du crabe | The Crab Nebula (1993)
Éric Chevillard – Au plafond | On the Ceiling
Éric Chevillard: Le Désordre azerty
Éric Chevillard: Dino Egger
Éric Chevillard: Le Vaillant Petit Tailleur
Éric Chevillard: Le Caoutchouc décidément
Éric Chevillard: Palafox
Éric Chevillard: Un fantôme
Éric Chevillard: Du hérisson | Of the Hedgehog
Éric Chevillard: Démolir Nisard | Demolishing Nisard

18 April 2020

Éric Chevillard: Le Vaillant Petit Tailleur (2003)

Éric Chevillard's Le Vaillant Petit Tailleur is of particular note in Chevillard's work because it's a homage to his Minuit publisher Jérôme Lindon (1925-2001), who had once suggested that he write a story that everyone already knows. Chevillard understood by this that Lindon would have appreciated a more visible narrative thread in his works, although Chevillard didn't immediately know what to do with this advice.

And then the idea of the tale 'The Valiant [or Brave] Little Tailor' by the Brothers Grimm came to him, a story he appreciated, and of which the 'authors never pretended to be authors': this is after all a tale which has been handed down orally over the centuries. And needless to say, Chevillard will introduce numerous digressions in the novel, almost (but not quite) making the story unrecognisable.

There is a Préambule (or Foreword) in which the digression already plays fully into hands of the fans of digression: a précis of Hans Christian Andersen's folk story of 'Hans-My-Hedgehog',  which of course recalls Chevillard's previous novel Du hérisson (On the Hedgehog) (2002), and Chevillard's central interest in survival of all forms, in protection.

To recall, 'The Valiant Little Tailor' is a very brief tale of an unnamed tailor annoyed by flies around his marmalade sandwich. In a stroke he kills the seven flies around it, and permanently leaves his accommodation with a banner around him saying he's killed seven at a stroke. People (unaware of what the number refers to) are in awe, and then he meets a giant who is eager to display his talents, but the tailor defeats him through a mixture of intelligence and deception. Soon the king learns of the tailor's feats and invites him to deal with two giants in the forest wreaking havoc. The valiant little tailor sees them sleeping under a tree, climbs up it, throws stones at the giants, thus provoking them to argue, fight and kill each other, and so he wins the hand of the king's daughter and half of his kingdom.

Of course, Chevillard re-visits this story, re-re-visits it, re-re-re-visits and so on. If the story were originally a straight-line narrative, it is now full of digressions –such as a tale of modern-day sexual aggression on the métro, or a re-write of the traditional story of Tom Thumb.

Chevillard's books are resolutely, furiously, not just novels, they are a number of stories at the same time as they are a collection of anti-stories, or maybe anti-linear stories: they lead the reader into cul-de-sacs, spread false trails, meander.

Chevillard twists things, represents the novel as palimpsest, with the hero as the writer rather than the subject, but self-denigrates, creates amusing situations out of the frivolous, but also the serious, the vitally serious. Éric Chevillard is a writer for this century, and mercifully he isn't going away.

My Éric Chevillard posts:
––––––––––––––––––––––––––––––––––––
Éric Chevillard: Oreille rouge | Red Ear (2005)
Éric Chevillard: L'Explosion de la tortue (2019)
Éric Chevillard: La Nébuleuse du crabe | The Crab Nebula (1993)
Éric Chevillard – Au plafond | On the Ceiling
Éric Chevillard: Le Désordre azerty
Éric Chevillard: Dino Egger
Éric Chevillard: Le Vaillant Petit Tailleur
Éric Chevillard: Le Caoutchouc décidément
Éric Chevillard: Palafox
Éric Chevillard: Un fantôme
Éric Chevillard: Du hérisson | Of the Hedgehog
Éric Chevillard: Démolir Nisard | Demolishing Nisard

13 April 2020

Éric Chevillard: Oreille rouge (2005)

Éric Chevillard's Oreille rouge is certainly a satire on the autobiographical travel book, but also on the mindlessness of tourism itself, the people who collect tourist tat and tick off the places they've visited. But more than that, it's an investigation into the psychology of tourists. Reality is filtered through self-consciousness: life is not so much lived as seen to be lived, the imperative being to expose yourself to be viewed as a kind of model. Inevitably, I'm reminded of the millions of selfies posted on social networks, the endless shots of people posing on the Great Wall of China, by the Statue of Liberty, Ayers Rock: 'Look at me, I've got a bit of money, aren't I wonderful?' Frankly, no, you're anything but.

Oreille rouge is named after his stay in Mali, where he to a certain extent got suntanned (well, his ears did) and where he has, as a writer, been invited to spend some time and write about his experiences. The novel is in three parts: the invitation and his reaction; the stay; and the effect after the return.

The first part is Oreille rouge's reactions and involve his refusal concerning the absurd invitation to go to Mali, and he invents endless excuses not to go there. It is of course largely a question of fear of the unknown, of not surviving in a strange country or continent, but Oreille rouge comes to see the necessity and finally can't refuse. There are many absurdities here, but then with Chevillard that is only to be expected.

So Oreille rouge arrives in Mali, is welcomed by a family, and his guide Toka is to lead him to the hippopotamuses he longs to see – well, hippos are an essential part of Africa, aren't they? So Toka teaches him all about them, their activities and when not to look for them (the dangerous mating season). Oreille rouge learns a great deal about hippos and other animals, is mad keen on writing the poem of Africa in his (probably fake) moleskin notebook. Mauvaise foi (in the Sartrean sense of self-deception) rules. Then Oreille rouge learns by accident that his guide Toka (like, say – Oreille rouge suggests – Stendhal's Fabrice del Dongo or Julein Sorel) has been lying to him, spinning him yarns about the existence of hippos, which Toka has probably never seen.

Finally Oreille rouge returns to France full of stories about the wonderful Mali, unable to prevent himself from adding numerous comments whenever Mali is mentioned, unable to mention Mali whenever it's not mentioned. He's an expert on, er, uncharted territory, and hates it when liars talk about their experiences of Africa, especially Mali. Oreille rouge is no tourist but a seasoned traveller, bringing back such items as a model elephant from Bamaka market: no tourist he!

My Éric Chevillard posts:
––––––––––––––––––––––––––––––––––––
Éric Chevillard: Oreille rouge | Red Ear (2005)
Éric Chevillard: L'Explosion de la tortue (2019)
Éric Chevillard: La Nébuleuse du crabe | The Crab Nebula (1993)
Éric Chevillard – Au plafond | On the Ceiling
Éric Chevillard: Le Désordre azerty
Éric Chevillard: Dino Egger
Éric Chevillard: Le Vaillant Petit Tailleur
Éric Chevillard: Le Caoutchouc décidément
Éric Chevillard: Palafox
Éric Chevillard: Un fantôme
Éric Chevillard: Du hérisson | Of the Hedgehog
Éric Chevillard: Démolir Nisard | Demolishing Nisard